This study defines the traditional styles and genres of Netsilik Inuit music and examines the extent of change which this music has undergone especially as a result of contact with European and North American music. Volume two consists of song transcriptions and commentaries.
This study defines the traditional styles and genres of Netsilik Inuit music and examines the extent of change which this music has undergone especially as a result of contact with European and North American music. Volume two consists of song transcriptions and commentaries.
"Transcriptions and investigations of traditional songs from the Thule Area recorded by Erik Holtved in 1937 and Michael Hauser and Bent Jensen in 1962. Further investigations with music examples of traditional songs from the Uummannaq-Upernavik Areas, the Baffin Island Areas and the Copper Inuit Areas."
The foremost authorities in the field of music from around the world have contributed twenty original essays for this volume, edited by Elizabeth May. Only European musics have been omitted, except insofar as they affect other musics discussed here. North American music is represented by the musics of the Native Americans and the Alaskan Eskimos. The essays are profusely illustrated with maps, drawings, diagrams, photographs, and music examples. There are extensive glossaries, bibliographies, and annotated film lists. The book is directed to readers seriously interested in acquainting themselves with musics beyond the confines of Western musicology. Contributors include Bruno Nettl, Kuo-huang Han and Lindy Li Mark, Kang-sook Lee, William P. Malm, David Morton, Bonnie C. Wade, Margaret J. Kartomi, Adrienne L. Kaeppler, Trevor A. Jones, Atta Annan Mensah, John Blacking, Alfred Kwashie Ladzekpo and Kobla Ladzekpo, Cynthia Tse Kimberlin, Jozef M. Pacholczyk, Ella Zonis, Abraham A. Schwadron, David P. McAllester, Lorraine D. Koranda, and Dale A. Olsen. Please note: this book was originally published with records. The edition available now does not include the records. We are hoping to make the original recordings available in some other way.
Providing access to virtually any subject related to music and musicians in Canada, more than 900 annotated entries are organized under 13 topics, and indexed by author, subject, and title. Background and supplementary information and suggestions for research are presented in introductory essays. The material covered reflects the broad spectrum of music in Canadian society including historical, analytical, and biographical studies of music derived from the European tradition, First Nations and Inuit music, jazz and popular works, folk and ethnic music, education, research and bibliographical materials. The reader is also directed to some important on-line resources. Musical activity in Canada has developed remarkably in the past 50 years, with a parallel growth of musical scholarship examining historical, social, and ethnological aspects of Canadian musical life. This Guide is the first to draw comprehensively on the wealth of studies now available, which are often dispersed and not easily located. Consequently, this information is invaluable to students and researchers interested in Canadian music, the music of North America, and Canadian studies. Index.
A historical and ethnographic study of the dynamic musical traditions of the Blood Indians of southwestern Alberta with particular emphasis on the influence and adaptation of Euro-American culture.
With Wearing the Morning Star, Brian Swann presents a collection of more than one hundred Native American songs that celebrate the rich and vibrant oral traditions of the Indigenous peoples of North America. These are songs of the earth and the sky, songs of mourning and of love, parts of ceremonies and rites and rituals. Some have familiar themes; others illuminate the complexities and differences of the Native cultures. The collection includes songs of derision and threat, ribald songs, hunting chants, and a song sung by an Inuit about the first airplane he ever saw. ø Swann has provided an authoritative introduction and notes for each selection that place the songs in their cultural contexts. He has reworked the original translations where appropriate to allow the modern reader to appreciate and enjoy these remarkable works and provides a new preface for this Bison Books edition.
This edition explores the history of musical contact, interaction, and exchange between American Indians and Euramericans, as documented in musical transcriptions, notations, and arrangements. The volume contributes to an understanding of American music that reflects our cultural reality, depicting reciprocal influences among Native Americans, scholars, composers, and educators, and illustrating consequences of those encounters for American musical life in general. Culled from a published record of over 8,000 songs, the edition contains 116 musical examples reproduced in facsimile. Included in the volume are the earliest attempts to represent tribal music in European notation, archetypal transcriptions in the scholarly literature of ethnomusicology, and recent contributions by contemporary scholars. Some of the notations shown here inspired composers in search of a distinctively American musical idiom to write works based on American Indian melodies. Others captured the imagination of American school children, whose concept of cultural and musical identity came to be linked with American Indians. Indigenous notations, the work of native scholars and educators, and recent compositions by native composers working in the classical vein also appear in this volume. As a compendium of historic materials, the edition illustrates the development of Euramerican attitudes and approaches to American Indian musics, the infusion of native musics into American musical culture, and native responses to and participation in the enterprise.
A study of the development of contemporary Inuit literature, in both Inuktitut and English, including a discussion of its themes, structures and roots in oral tradition. The author concludes that a strong continuity persists between the two narrative forms despite apparent differences in subject matter and language.
Abstracts of Master’s and Doctoral thesis completed at Canadian universities between 1970-1982 dealing with ethnographic, archaeological, linguistic, and physical anthropological topics relevant to Canada’s Native peoples.